A respectable blend of drama and horror, using strengths of both but also succumbing occasionally to the weaknesses.

Suspense is present from the very beginning, building to an exciting and unexpected climax, unfortunately falling a bit flat afterward. In fact, the last 30 seconds of the film somewhat blemish the drama of the story as a whole, mostly because the ending touches on a relationship that was hardly explored and not at all significant through the rest of the film, partly because of the focus on the very thing that makes this movie good: the constant twists and turns in the story. This also leads to some ideas that are passable but don't make nearly as much sense as they're supposed to; particularly the whole "people who aren't seen"/"There was no man with her (Sara)"/"Don't look at me!" motif. I still don't get it, but it has little impact on the story anyway.

I believe the entirety of the story could have used some fine tuning, and run time could have been trimmed by 10 to 15 minutes... But overall it's engaging, well acted, and sets an excellent and fitting mood visually. Thrillers that can't project the protagonist's experience to the viewer fail horribly... this movie does an outstanding job providing a sense of confinement that fits the title character's world, and this is where its greatest strength lies.

Although character relationships are a bit thin and suspense doesn't hit many high notes, this is a fairly exciting thrill ride and a good effort all around. One last thing, I would recommend watching it without distraction... the mood is more visual and in the flow of the story than it is intellectual or suspenseful, and it's easy to lose interest if you step away for a few minutes.

Twin sisters Julia and Sara (each played by Belén Rueda) both suffer from a degenerative eye disease that robs them of their sight; Sara lost her vision completely, and it’s only a matter of time before Julia’s sight follows. The film begins with the death of the blind Sara, apparently being menaced by someone in her home, then hanging herself. Details surrounding Sara’s death don’t add up for Julia, however; why would Sara kill herself? She was scheduled to have an operation to restore her sight, and she just met someone. Julia and her husband Isaac (Lluís Homar) begin to investigate, but time is running out: Sara may have been murdered, her danger is now turning toward Julia, and the added stress is stealing Julia’s remaining vision ever faster...

There are so many great concepts here. The most primary is blindness, and the terror it invokes. Our heroine knows the remaining time she has with her sight is short, and the agony she (and her husband) feels over its loss is palpable. Not content with the mundane horror of blindness, the film ups the ante by putting this woman with ever-dimming sight into a life-or-death struggle to discover what happened to her sister and prevent it from befalling her as well. Few horror films are able put their protagonist in such a nail-bitingly vulnerable position.

Even fewer horror films, however, have the terrific Belén Rueda anchoring them. Rueda’s performance is incredible, by turns vulnerable, heartbroken, terrified and full of steely resolve. She and Homar have a warm, believable chemistry that informs their performances as a married couple with a devastating disease hanging over their heads. Will he love her when she’s blind? Will he abandon her? He’s sick with worry over the stress and her imminent plunge into blindness. She’s driven by guilt to discover what happened to her sister, even knowing what it may cost her.

The film itself is a masterwork of tension and style, including some gorgeous and clever cinematography by Óscar Faura. This is indeed one of the most stylish thrillers I’ve ever seen, particularly a conceit that director Guillem Morales effects around the midway point and is clever, frustrating, and hideously effective. The film eschews (as all the best do) copious blood and gore, and milks the quiet horror of Julia’s predicament for everything it’s worth.

There are a couple of story beats high-concept enough they may raise your eyebrow after the fact, but when your film is this immaculately-crafted, this terrifying, this effective…who the hell cares? If you’re not on the edge of your seat by the time of the film’s hellishly tense finale, I fear you may require medical attention. Mystery, thriller, horror, character study…the film is all these things and more, blended into an arresting film experience that elicits a full catalog of fears ranging from the mundane to the Grand Guignol.

Julia’s Eyes is ever more proof of what I’ve been saying: these days, the best horror films speak Spanish.